


--1°^ 




'>0^ 












%<^' 

c^^'% 















69^ ^\ 











V .♦•:nl'* e. 




. -.w-f.* y 



^r 




.-1°^ 








*bv^ 



ip^. 



^/-o* 



> .^""^^. 



-'l°,^ 






















0^ .'*»' <;> v' .L*^', 



c 






} 
WOOLLEN MANUFACTURES. 



-it 

11" 



THE 



ART OF DESIGNING 

AND 

MANUFACTURING 

WOOLLEN CLOTH: 

WITH TABLES, 

GIVING 

THE DENTS IN REED, RUNS, TWISTS, YARDS, OUNCES, 

PICKS, NUMBER OF THREADS, ETC.; FINISHING 

DEPARTMENT, GIGGING-ROOM, AND 

FULLING-ROOM. 



5" ? 



BY W. C. BARNARD, 

CAVENDISH, VER3I0NT. 



BOSTON: 



VilOAM- 



A. TV^ItiLI^lMS &c CO., 

100, Washington Street, 
18G9. 



k> 



7^ 



i> 



-n>'' 



Entered, according to Act of Congress, in the year 1868, by 

W. C. BARNARD, 

In the Clerk's Office of the District Court of the District of Massachusetts. 



1>- 



^Wi 



Pratt BaoTHERS, 

^tereotspcr» antj printfta, 

37 CORNHILL, BOSXpN. 



PREFACE. 



In giving this work to the public, I do not 
deem it necessary to preface an}^ excuse. I 
tender my thanks to Lucian "Walcott, Superin- 
tendent of the Elmville Mills, Rhode Island; 
DwiGHT Sumner, Agent of the Newark "Woollen 
Mills, New Jersey ; David Alger, Overseer of 
the Carding Department, Burrillville, Rhode 
Island ; and others, for many kind and valu- 
able suggestions. 

I am, yours truly, 

W. C. BARNARD. 
Cavendish, Vermont. ^ 
Dec. 6th, 1868. ) 



CONTENTS. 



PAGE^ 

GENERAL OBSERVATIONS ON WOOL 9 

WOOL-SORTING 13 

WOOL-SCOURER 13 

OBSERVATIONS ON DYEING WOOL 21 

PREPARATION AND FINISHING 28 

ON THE HEIGHTEI^ING OF COLORS 30 

SADDENED COLORS 43 

TABLE OF MIXTURES 51 

PICKING-ROOM » 53 

CARDING-ROOM '. 54 

ROPING-T ABLE 56 

REDUCING WOOL ON THE CARDS 56 

SPINNING-ROOM 57 

SPINNER'S TABLE 59 

SPOOLING-ROOM ^ 61 

THE REED 61 

CALCULATION OF WARPS 63 

CALCULATION OF FILLING 64 

DRA WING-IN ; 65 

PLAIN CLOTH 66 



viii CONTENTS. 

PAGE. 

TWILLED-PATTEEN 68 

FOUR-LEAF PATTERN. 70 

FIVE-HARNESS PATTERN 71 

SIX-HARNESS PATTERN 72 

DESIGN FOR FIFTY CUTS ^.78 

PRICE LIST 80 

BURLING-ROOM 81 

SCOURING AND FULLING ROOM 82 

GIGGING-ROOM 84 

SHEARING OR FINISHING ROOM 86 



WOOLLEN MANUFACTURES. 



GENERAL OBSERVATION ON WOOL. 

WOOL is the filamentous substance which 
covers the skins of sheep, and some 
other animals, as the beaver, the ostrich, 
the llama, the goats of Thibet, of Cachemir, 
etc. These varieties of wool serve for 
the manufacture of various styles of fabric, 
used for raiment and other purposes, imder 
the name of doeskin, cassimere, broadcloth, 
beavers, flannels, etc. Sheeps' wool alone 
possesses the fulling or felting property. 
Wools have been distinguished in commerce 
into two classes, — fleece wool and dead 
Avool. The first is obtained from the annual 
shearing of sheep ; the last is that cut 
or pulled from dead animals, and are char- 
acterized by their harshness, weakness, and 
incapacity of taking a good dye, especially 
if the animal has perished from a malignant 
disease. 



10 THE ART OF DESIGNING AND 

Sheeps' wool is greatly modified by the 
breeding of the animals, for it is a coarse, 
hairy substance, mixed with a soft down 
close to the skin on the wild moufflon; to 
which genus all the varieties of the domes- 
tic sheep have been traced. The merino 
sheep was first introduced into this country 
by Consul Jarvis, of Springfield, Vermont. 
Their fame for fine wool was soon ac- 
knowledged to be preeminent. By crossing 
and mixing with the native blood, they 
soon produce a fine, strong, healthy fibre, 
much sought after by the manufacturer for 
goods of light weight. 

It has been ascertained that the female 
has more influence than the male, on the 
bodily form of an animal; but that the 
male, in sheep particularly, gives the pecu- 
liar character to the fleece. The produce 
of a breed from a coarse-wooled ewe and 
a fine-wooled ram will give a fleece ap- 
proaching half-way to that of^ the male ; 
and a breed from the progenj^, with a fine- 
wooled ram will yield a fleece differing 
only one-fourth from that of the sire. By 
producing in the opposite ratio, the wool 



MANUFACTURING WOOLLEN GOODS. H 

would degenerate into its primitive coarse- 
ness. The hardness of some of the Ameri- 
can ^vools does not depend entirely on the 
race or the climate, but on certain pecu- 
liarities in the soil, which affect the pas- 
ture. The fleece of sheep, fed on chalky 
districts is generally harsh ; that of those 
fed on light, lich, high, and dry lands, 
like those of Windsor County, Vermont, 
are distinguished for their silky softness, 
and ready adaptation for its fulling quali- 
ties. 

The felting property of wool is in some 
manner proportional to the softness, and 
depends conjointly on the annular, and 
other regosities of the filaments observable 
by means of a good microscope, and on 
their elasticity. In consequence of this 
structure, when they are pressed and rolled 
together they ^ become convoluted and en- 
tangled by mutual friction. 

The grease or yolk of the fleece is a 
species of soap secreted by the sheep, and 
consists of oil, with a little potash. Hence 
it serves to facilitate the scouring of wool 
by means of water alone, with which it 



12 THE ART OF DESIGNING AND 

forms a kind of suds, or emulsion. It is 
most abundant in those breeds which ^ow 
the softest fleeces, and on the part of the 
back covered with the finest wool. This 
yolk, however, though favorable to the 
growing fleece, becomes injurious to it after 
it is shorn, and ought to be immediately 
removed, otherwise it will produce fermen- 
tiition in the wool-heap, and render it hard 
and brittle, — a change which takes place 
most rapidly in hot weather. Sometimes 
the fleece is washed with cold water, on 
the animals, before shearing; but when 
it is thick, as in the merino breed, it 
is washed after it is shorn, either with 
cold or hot water, the latter being most 
effectual. 

Wool loses in the process from thirty to 
fifty per cent of its weight. In the last 
few years, the growers of wool, stimulated 
by the high prices, have given their atten- 
tion to producing weight of fleece, and lost 
sight of quality, which has had a tendency 
to drive the manufacturer from the home 
market, to seek his stock where less im- * 
position is practised. 



MANUFACTURING WOOLLEN GOODS. I3 

The American wool has altered for the 
worse. Mr. Woodward, of Woodstock, 
Vermont, speaking of stock used iu his 
mill, says, that he could not make the 
class of goods called for by his customers, 
without mixing Australian, Smyrna, and 
Mestizo wool, which, being short, fine, 
and silky, easily takes a high polish and 
lustre in finishino^. 

WOOL-SORTING 

Is doubtless one of the most difficult branches 
of woollen manufacturing. It requires a per- 
son of long experience, and sound, steady 
judgment, to value by the fineness, sound- 
ness, softness, density, uniformity, and 
whiteness of its fibres. There can be no 
rule to work by. The qualities have to be 
estimated as accurate as the judgment will 
allow by the manufacturer, wool-sorter, and 
wool-dealer. When properly prepared, it is 
handed over to the 

WOOL-SCOURER ; 

Who has ti kettle, holding about one 
hundred and fifty gallons, which is con- 



14 THE ART OF DESIGNING AND 

venient for scouring from twenty to twenty- 
five pounds of Tvool at a time. 

To commence with a fresh scour, you 
have to fill the kettle two-thirds with 
"water, and the other third with stale urine. 
Eaise the temperature to one hundred and 
forty degrees Fahrenheit ; enter the above 
quantity of wool; work it well with the 
stick, so as to have every fibre exposed to 
the action of the liquor ; and, after about ten 
minutes' immersion, heave it on the scray, to 
drain. Then enter another similar quantity ; 
and proceed as before. Take this out, and 
enter a third quantity. Heave out, and 
drain this a short time ; then throw it into 
the wash-box, and commence rinsing. The 
two former kettlesful now return into the 
liquor again, so that the one which was 
steeped the first may go into the kettle 
after the other two. The reason for thus 
returning the two first scourings into the 
kettle again before rinsing, is because the 
same liquor is not in a fit state to dis- 
solve, or render soluble, the fatty sub- 
stance adhering to the wool until after the 
third or fourth scour. If it be properly 



MANUFACTURING WOOLLEN GOODS. 15 

cleaned, it will exhibit the following char- 
acteristics : — It will drain quickly, and, as 
the water leaves it, begins to spring and 
swell gently up. It will look bright and 
white, and have a glistening appearance 
when seen by transmitted light ; or, taking 
it up in the hand, it feels light and lofty. 
On shaking it over, it readily parts asun- 
der, falling lightly and feather-like. It 
leaves no stickiness upon the hand ; and it 
smells sweet, having no scent of the sheep 
or grease about it. On the contrary, if 
the wool be badly scoured, or set in the 
grease while it is yet in the wash-box, it 
will cling together more heavilj^ and feel 
weighty on the stick. On throwing it out, 
it dries slowly ; it clings together and can- 
not be separated ; it is clammy, and greases 
the hand ; it is yellow, and dirty-looking ; 
and the most casual observer will perceive 
that there has been some improper man- 
agement of it. It will have to be re- 
scoured. 

If, by any accident, you should hap- 
pen to have a scour of this description, 
the best plan you can take with it is to 



IQ THE ART OF DESIGNING AND 

make a solution of soap in clean water, 
at one hundred and seventy degrees, and 
pour in a little olive-oil ; work it in this 
five or ten minutes,, then wash out. You 
will do well now to look to your scour- 
kettle, to prevent a like recurrence. As 
the scour-liquor by use gets thicker, and 
acquires more consistence, it will start the 
grease quicker and better ; and, by the 
second or third day after setting, will be 
in as good condition as it ever will be. 
One care, therefore, ought to be, to pre- 
serve it in this solution all the time. In 
order to secure this object, every morning, 
before commencing work, take care to skim 
off all the thick scum that rises on the 
top during its repose through the night, 
and scoop out from the bottom all the 
sand and earthy matter that settle there, — 
the wool always containing more or less 
of it. If, after the scour has been set 
some time, it should get unnecessarily thick, 
heave oui some of the liquor, and replenish 
with water, and rather more urine than 
usual. It will scour better after this reno- 
vation than before. I would observe . here 



MANUFACTURING WOOLLEN GOODS. n 

that we should so adjust the body of the 
scour as to be thick enough to start the 
grease easily, and yet not leave it so thick 
as to require an unnecessary quantity of 
water to carry off all the suds. This state 
is best represented on the second or third 
day after it is set. 

It is a practice among dyers not to be 
so particular in 'scouring wool for kettle- 
colors as for blue-dyeing. This arises from 
false ideas, and I see no reason whatever 
for such a distinction. On the contrary, I 
press it forcibly upon the attention of both 
manufacturers and dyers, that for all colors, 
the wool can never be too clean. I will 
illustrate this a little. 

Suppose the grease not to have been 
suflSciently started in the scour. In this 
case, water will not have any effect to force 
the grease from the wool ; and you will 
find that it handles greasy and sticky to 
the fingers. We proceed to dye it of some 
common color, — say black, olive, drab, etc. 
It is true that the color will appear toler- 
ably well ; but let us follow it through 
the process of manufacturing, and trace out 



18 THE ART OF DESIGNING AND 

the final results. In the first place, this 
wool will be found to card badly, and re- 
quire more thau clean wool, in order to 
overcome the resistance exhibited by the 
adhesiveness of the greasy paste left upon 
it previous to coloring. It makes, also, 
considerable more dirt and waste than ordi- 
narily, which becomes a serious loss, if 
long continued. It spins badly, breaking, 
and not drawing-out, or making as fine, 
even, or strong yarn as it otherwise would 
do. It does not weave so well either. 
But it is in the subsequent operations of 
scourinof and finishin^: that we are to look 
for its worst effects, for the flannels can 
scarcely ever be scoured clean ; and if they 
should be, it is only to be done by re- 
peated scouring and dyeing, or by the em- 
ployment of a scour-liquor of such excessive 
alkaline strength as not only to injure the 
texture and falling property of the cloth, 
but almost to destroy ^the color, which will 
look dull, lifeless, and poor. The cloth 
itself Avill have a dead, lustreless appearance, 
and it is utterly impossible ever to get that 
high steam polish upon the goods, which 



MANUFACTURING WOOLLEN GOODS. I9 

constitute the chief excellence and beauty 
of modern improvements in finishing. The 
consequence is, such goods go to market 
and sustain a loss proportionate to the 
above defects in their manufacture. Like 
results follow, when, after fairly starting 
the grease^, we neglect to wash out all the 
suds ; for, in the process of dyeing, the 
metallic, or earthy salts,' such as sulphate 
of iron, sulphate of copper, alum, etc., 
enter into combination with the soapy mat- 
ter left in the wool. The suds of such 
salts, uniting with the alkali of that soap 
and the metallic, or earthy base, combining 
with the grease, forms, by this double de- 
composition, a mineral soap, perfectly in- 
soluble, and which can never be separated 
from the fabric by any other process 
whatever. This will suflSice to show the 
absolute necessity of having the wool prop- 
erly cleaned, even for the most common 
shades ; and the dyer will perceive how 
essential it is to his interest to have a 
perfectly clear ground on .which to place 
his colors ; for, on clean wool, the colors 
take easily, look bright, and are perma- 



20 THE ART OF DESIGNING AND 

nently fixed ; and every subsequent process 
of manufacturing has a tendency to improve 
the beauty and histre of the colors and the 
fabric. 

I may appear to have been rather prolix 
on this subject, but I think I have said 
no more than its importance requires ; and 
I again repeat, it will do as well for us 
to see, in commencing this preparatory step 
to dyeing, be certain to begin right, mak- 
ing a clear foundation, and leaving nothing 
that can afford resistance to the free action 
of the dyestuffs upon the wool ; for, upon 
the mutual and intimate combination of these, 
depend the beauty and preeminence of our 
colors. 

Mr. Winslow, of Woodstock, Vermont, a 
dyer of many years' experience, speaking 
of preparations for scouring wool and 
woollens, says that urine is the only natu- 
ral scour. It leaves the fibre sound, and 
should be used in preference to anything 
else. 



MANUFACTURING WOOLLEN GOODS. 21 

OBSERVATIONS ON DYEING WOOL. 

After scouring the wool, let it remain 
and drain until the next day. Then take 
it to the kettle ; shake it out, breaking the 
flakes, and lightening up the whole pile, 
opening it thoroughly, taking out all the 
twisted and hard lumps, which, if left in, 
would take an uneven color. When you. 
have shaken it thoroughly, run up the ket- 
tle with water to a proper working height. 
This Vv^ill check the boiling, and j^ou can 
enter the wool more easily, and it will 
give it a better chance of coloring in an 
even manner. Then take out the bugs, al- 
ways bearing in mind to rake up the 
kettle well before entering the wool. You 
will now enter the wool as quickly as 
possible, using the poles until j'ou perceive 
the color to have taken on every portion 
of it alike, then press the whole under the 
liquor. This operation lasts from fifteen to 
thirty minutes, according to the size of the 
kettle and quantity of wool to be d3^ed. 
Got on a boil as quick as possible ; and 



22 THE ART OF DESIGNING AND 

continue this at a brisk and steady rate 
for two hours, with an occasional putting 
in a lever to aid the boil in chan2:ino: the 
position of the wool, if that be required. 
This time being expired, you will prepare 
to sadden by running the kettle up with 
water, and stopping the boil. Then heave 
in the levers, and, w^hile the men are 
Tvorking this as before, throw on your 
mordant, or sadden in such a manner, that, 
by the time the whole of this is ended, 
the wool may be evenly imbued with it. 
This takes up about as much time as the 
first breaking-up. Now press the whole 
under the liquor, and get on a stiff ^boil, 
which continue at a brisk and steady rate 
for one hour. Then draw off 5^our fire, or 
steam; run the kettle to the brim with 
water, and let all remain in during the 
night, excepting such cases as are expressly 
specified to the contrary in the recipe for 
producing them. Far preparation colors, 
once using the lever is sufficient, with 
two hours' boiUng; and, for finishing the 
same off in a fresh liquor, once handling 
over, and one hour's boiling, is all that is 



t 
MANUFACTURING WOOLLEN GOODS. 23 

necessary. For such colors as are dyed off 
at one operation, a good use of the lever 
on commencing, and occasional turn of the 
wool in the kettle, with one hour's boil, 
is all that is required to complete them. 

There are but three general methods, or 
processes, of dyeing wool or woollen goods, 
or, in other words, distinct plans of com- 
bining colors in a chemical manner with 
animal fibres. I shall attempt to give an 
account of them, with an explanation of 
the* theory upon which these combinations 
take place. The first that I shall describe 
is that process wherein all the materials 
that enter into the composition of the color 
are mingled together in one common liquor, 
or bath, and applied to the wool at once, 
by about one, or one and a half hour's 
boiling. If, into a clear solution of log 
wood, fustic, or other kind of dyestuff, 
you pour another solution of any metallic 
or earthy salt, or sulphate of iron, alum, 
etc., you will observe, when this mixture 
takes place, the liquor becomes broken, and 
a flocky or curd-like matter is formed, wliich 
gradually settles to the bottom of the 



24 THE ART OF DESIGNING AND 

vessel in which the mixture was made. 
This precipitate is the color which, in this 
first mode of dyeing, — for we really and 
positively see the union take place be- 
tween the coloring principle and the earthy 
or metallic salt, — the combination of which 
two substances forms or makes the color . 
we intend to apply to the wool. It also 
explains the true theory of the formation 
and constitution of colors ; showing them to 
be a chemical compound, the elements of 
whose composition are an undefined color- 
ing principle, distributed abundantly through 
the vegetable and mineral kingdom, and an 
earthy substance, or a metallic oxide. Al- 
though this flocky substance, which is the 
new-formed color, gradually subsides to the 
bottom, and leaves the liquor but slightly 
tinged, yet it is not an insoluble precipi- 
tate, but is partially soluble in water, and 
more particularly at a boiling heat ; and on 
this slight degree of solubility hangs the 
property it possesses of forming a chemical 
nnion with the wool. Did it form an in- 
soluble precipitate, no chemical combination 
could take place by this mode of dyeing; 



MANUFACTURING WOOLLEN GOODS. 25 

because the wool, or cloth , being boiled in 
a liquor containing nothing but an insoluble 
powder, no chemical action could take 
place between them, and the wool would 
be merely stained, and this insoluble pre- 
cipitate only adhering to it, and that with 
but a slight mechanical force. The simple 
operation of washing in water would be 
sufficient to remove it. 

As said before, this partial solubility of 
the color is the cause of its union with the 
wool ; for, on immersing the latter in the 
liquor, it immediately seizes the part held 
in the solution (the affinity between the 
color and the wool being greater than be- 
tween the water and the color). The water, 
thus robbed of Avfiat it held in solution, 
now dissolves another portion of the color, 
which is again taken up by the wool ; and 
so on, portion after portion, until the whole 
becomes fairly combined with the wool, 
having all been dissolved successively by the 
water before it could enter into a close and 
intimate combination with the animal fibre. 
This mode of dyeing requires a rapid ebul- 
lition during the time of colorino-, as the 



26 THE ART OF DESIGNING AND 

greater the heat and agitation given to 
the water, the more finely are the broad, 
flocky particles broken and cut up; and, 
in proportion to the minuteness of the 
coloring molecules, so will be the intensity 
of the shade. 

Although this method of dyeing be more 
expeditious than either of the other two, 
yet I do not consider it equal to them, 
either in brilliancy or permanency of color. 
This plan is more generally used for color- 
ing yarn, flannels, and cloth, especially the 
finer colors; but you will find it resorted 
to in several of the recipes in wool- 
dyeing. 

The second mode of applying the color 
is known by the dyers by the appropriate 
terms of '^ Preparing," and its operations are 
performed in this manner: — After the dye- 
stujffs have been sufficiently boiled to ex- 
tract all their coloring matter, the wool is 
entered, and two or two and a half hours' 
boiling given to it. This is the preparing 
part of the process, and the wool only 
receives in it the slight tinge of color 
peculiar to an extract of the dyestuffs 



MANUFACTURING WOOLLEN GOODS. 27 

used in making the liquor. Longer boiling 
than the above time is needless, as all the 
color necessary to produce the best effect 
is in that time combined in the wool. 

The next stage is the saddening, or giv- 
ing it to the mordant, which consists of 
some chemical salt, such as sulphate of 
iron, sulphate of copper, alum, etc. The 
manner of doing which is laid down in 
the article " On the Operations of Dyeing." 
In the first of this process, a combination 
is effected between the wool and the color- 
ing matter, analagous to that which takes 
place between the astringent, or tannin' 
principle ; and the rawhide is the process of 
tanning. Let us ilhistrate this a little: — 

Make a decoction of any of the dye- 
stuffs, — logwood, or fustic, for instance; 
then pour into this decoction a weak solu- 
tion of gelatine, and you ^will perceive that 
a precipitate falls of the color of the solu- 
tion of the dyestuffs employed, and a great 
quantity of color has been abstracted from 
the decoction. This precipitate is the glue 
and the coloring matter, which, by their 
mutual affinities, have formed a compound 



28 THE ART OF DESIGNING AND 

that is insoluble in water. Of a similar 
nature is the union resulting from the 
boilins: of wool in the solution of most of 
the clyestuffs. In the saddening part of the 
process, both the coloring matter and the 
wool have a strong affinity for the metallic 
or earthy salts. These are drawn by them 
in an increased attraction, and a trifle com- 
pound of animal matter, the coloring prin- 
ciple and the mineral base of color is formed, 
which being held together by virtue of 
the three separate forces, oifers such a re- 
sistance, that boiling water cannot disunite 
them. Precisely similar are all the unions 
of coloring matter with wool, no matter 
what process may have been emplo^^ed to 
effect it. 

PREPARATION AND FINISHING. 

This is exactly the reverse of the second 
mode, and consists of two distinct stages ; 
in the first of which, the wool is boiled 
for two or two and a half hours, and 
suffered to remain all night in a solution 
of the metallic or earthy salts, that form 



MANUFACTURING WOOLLEN GOODS. 29 

the mordant or base of the color you 
wish to produce. They have a strong ten- 
dency to unite with the wool, inasmuch 
that, on coming out of the preparation, it 
is in general tinged with the shade peculiar 
to the oxide of the metal used ; and so 
tenacious is its power of adhesion, that 
after the coloring matter originally used 
shall have faded off, or undergone a material 
change, the property of the mordant remains 
unaltered, for it will absorb fresh color- 
ing matter as readily as before. After 
coming out of the preparation, it is custo- 
mary to wash the wool. 

In the second part of this process, a bath 
of clean water is prepared, in which the 
dyestuffs are boiled till ^all the color be 
extracted. In this, the mordanted wool is 
dyed up, occupying one or one half hour's 
time in boiling. In this case, the wool and 
the mordant both have an affinity for the 
coloring matter. Their joint forces attract 
it from the water with such- impctuosit}^ 
that it is immediately and rapidly united 
Avith them, and the color is soon bronght 
out. For this reason, the finishing part of . 



30 THE ART OF DESIGNING AND 

the process requires expert workmanship in 
orcler to have the wool evenly dj^ecl. The 
same colors, dyed by this process, are more 
superb and permanent than by either of the 
other plans ; but the method requires more 
time and labor, and is also more expensive 
than either of the other modes. 

ON THE HEIGHTENING OF COLORS. 

This operation cannot be considered a 
distinct process, but only a continuation' or. 
additional part of any of the above pro- 
cesses, and is generally performed either in 
a clean liquor, or a portion of the dyeing- 
bath is run off, and fresh water added to 
the remainder, to bring it to the proper tem- 
perature. The articles used for this pur- 
pose, or as alterants to the shade, are 
commonly either alkalies or acids. The 
raising of pinks and crimsons, and the 
raising of Prussian blue by alkalies, and 
the heightening and stripping of cloth-dyed 
blacks (that are rusty and foxy) by acids, 
are a few examples of colors requiring this 
extra operation to produce the shade sought 



MANUFACTURING WOOLLEN GOODS. 3I 

for. The temperature in these cases is about 
one hundred and twenty-five degrees. From 
these observations, it will appear plain that 
there can only be three plans of combining 
colors with wool : — 

First, — By applying the whole color at 
one operation. 

Second, — By combining the coloring mat- 
ter with the wool, and then giving it the 
mordant. 

Third, — In fixing the mordant on the 
wool first, and then appljdng the coloring- 
matter afterwards. 

In giving these recipes, I wish it dis- 
tinctly understood that they are perfectly 
reliable. These same directions have given 
color to goods that have commanded the 
highest market price ; in fact, have gov- 
erned the American market for the past 
ten years, and will continue to be relied 
upon as the standard of colors, as long 
as shecps' wool is converted into clothing, 
and worn by the human race. In djxMng 
these colors, great care should be taken 



32 THE ART OF DESIGNING AND 

to have everj^tliing clean iu the dye-house, 
and about the kettle. It is also necessary 
to clear the water previous to making the 
dyeing liquors ; and this is done by throw- 
ing into it a pound or two of alum and 
three or four quarts of wheat bran, and after 
letting it lay in awhile, skim off the bran 
before the water comes to boil. This carries 
out all the impurities of it, purges or 
purifies the water as above at all times 
for all the fine and delicate colors. These 
recipes are designed for one hundred 
pounds of wool, if not otherwise ordered. 

FUSTIC YELLOW, 

PREPARATION PROCESS. 

Potash-sulphate of alumina, 10 lbs. 
Supertartrate of potash, 21 lbs. 
Murip-sulphate of tin, 2^ lbs. 
Boil two hours. 



FINISHING PROCESS. 



Fustic, 33 lbs. 
Boil one hour. 



MANUFACTURING WOOLLEN GOODS. 33 

FINISHING PROCESS. 

« 

Fustic, 33 lbs. 

Supertartrate of potash, 2|- lbs. 

Boil two hours. 

PREPARATION PROCESS. 

Potash-sulphate of alumina, 5 lbs. 
Murio-sulphate of tin, 2^- lbs. 
Boil one hour. * 

AGGREGATE PROCESS. 

Fustic, 33 lbs. 

Supertartrate of potash, 2|- lbs. 
Potash-sulphate of alumina, 5 lbs. 
Murio-sulphate of tin, 2^ lbs. 
Boil one hour. 

SULPHUR. 

Quercitron bark, 2 J lbs. 
Potash-sulphate of alumina, 2'^ lbs. 
Supertartrate of potash, 5 lbs. 
Sulpho-muriate of tin, 2-|- lbs. 
Use all these together, with the additioa 
of a very little of sulphate of indigo, 



34 THE ART OF DESIGNING AND 

merely to give the peculiar tinge of the 
green due to the color of sulphur. Boil 
the wool one hour. 



WELD YELLOW. 

Weld, 100 lbs. 

Potash-sulphate of alumina, 14 lbs. 

Supertartrate of potash, 2 lbs. 

Murig-sulphate of tin, 5 lbs. 

Boil out the weld first, and withdraw 
the bag or bags ; then add the mordant,' 
and when that is dissolved, ent^r the wool, 
and boil one hour 



WELD GOLD-COLOR. 

Weld, or Woald, 100 lbs. 
Potash-sulphate of alumina, 7 lbs. 
Supertartrate of potash, 3 lbs. 
Murio-sulphate of tin, 7 lbs. 

Use these all together, and boil the 
wool up in them for three-fourths of an 
hour; then raise the wool out, and give 
from four to eight ounces (according to 



MANUFACTURING WOOLLEN GOODS. 35 

shade) of grained cochineal, and boil one- 
half or three-fourths of an hour. 

RECIPES FOR RED. 

In dyeing the whole of this order of 
colors, much of the effect depends upon 
cleanliness, and taking care to have all the 
solutions clear and limpid, the alum, etc., as 
well as the rest of the dyestuffs, of a good 
quality, and free from any dirt or mixture 
of other materials. After dyeing, let them 
be washed off, and dried in the open air, 
with the exception of the woad colors, 
which are better if dried in the shade. 

ROSE. 

Nitro-muriate- of tin, 4i pts. 
Potash-sulphate of alumina, 41 lbs. 
Supertartrate of potash, 4|^ lbs. 
Cochineal, 6 lbs. 
Boil the wool one half-hour. 

CRIMSON. 

Nitro-muriate of tin, 6 pts. 
Potash-sulphate of alumina, 6 lbs. 



36 THE ART OF DESIGNING AND 

Supertartrate of potash, 6 lbs. 

Cochineal, 10 lbs. 

Treat this color the same as the rose. 

PINK. 

Nitro-muriate of tin, 3 pints. 

Potash-sulphate of alumina, 3 lbs. 

Supertartrate of potash, 3 lbs. 

Cochineal, 3 lbs. 

When these articles are all thoroughly 
dissolved, enter the wool, and boil an 
hour or an hour and a half, and let it be 
washed off the same day; which course 
adopt with all colors having a mordant 
composed as the above. You will also 
make a paste of the cochineal, for all 
those colors which have the pink or crim- 
son hue to them. The cochineal you will 
digest with equal weight of aqua ammonia, 
for twenty-four hours, [or longer, before 
using. 



MANUFACTURING WOOLLEN GOODS. 37 

LAO SCARLET. 

Young-fustic, 71 lbs. 

Best lac dye, 15 to 20 lbs. 

Supertartrate of potash, 10 to 12|- lbs. 

Nitro-muriate of tin, 10 to 12^ pts. 

Boil one to one and a half hours ; wash 
off all the scarlet colors, as soon as possi- 
ble after coming from the kettle. 

BUFF. 

Supertartrate of potash, 5 lbs. 
Quercitron bark, 1 lb. 
Munjeet, 4 ozs. 
Nitro-muriate of tin, 5 lbs. 

SALMON, OR FLESH-COLOR. 

Supertartrate of potash, 3 lbs. 
Murio-sulphate of tin, 5 lbs. 
Young-fustic, 2 lbs. 
Lac-dye, ^ lbs. 

MELON. 

Quercitron bark, 2i lbs. 
Munjeet, 3J ozs. 
Supertartrate of potash, 1^ lbs. 



38 THE ART OF DESIGNING AND 

Potash-sulphate of aliimiua, 3 lbs. , 
Nitro-muriate of tin, 2^ lbs. 

ORANGE. 

Potash-sulphate of alumina, 5 lbs. 
Supertartrate of potash, 2J lbs. 
Muriate of tin, 5 pts. 
Quercitron bark, 33 lbs. 
Munjeet, 2 J lbs. 

AURORA. 

Quercitron bark, 20 lbs. 
Lac-dye, 8 lbs. 
Supertartrate of potash, 8 lbs. 
Murio-sulphate of tin, 8 lbs. 
Potash-sulphate of alumina, 2 lbs. 

FLAME-COLOR, OR SCARLET BARRB. 

Young-fustic, 15 lbs. 
Lac-dye, 12 lbs. 
Supertartrate of potash, 10 lbs. 
Murio-sulphate of tin, 1^ lbs. 

MOCK SCARLET. 

Best crop madder, 15 lbs. 
Lac-dye, 7 lbs. 



MANUFACTURING WOOLLEN GOODS. 39 

Supertartrate of potash, 8 lbs. 

Nitro-muriate of tin, 10 lbs. 

All of these colors are dyed with one 
hour's boil; then to be thrown out of the 
kettle, and thoroughly washed as soon as 
convenient. 

LILAC. 

MORDANT PROCESS. 

Potash-sulphate of alumina, 5 lbs. 
Supertartrate of potash, IJ lbs. 
Boil two hours. 

DYEING PROCESS. 

Hypernic-wood, 5 lbs. 
Logwood, 5 lbs. 
Urine, 2 J galls. 
Boil one hour. 

LAVENDER. 

MORDANT PROCESS. 

Potash-sulphate of alumina, 7 lbs. 
Supertartrate of potash, 2 lbs. 
Bichromate of potash, 1 lb. 
Boil two hours. 



40 THE ART OF DESIGNING AND 

DYEING PROCESS. 

Logwood, 8 lbs. 
Urine, 2 J galls. 
Boil one hour. 

COMMON PURPLE. 

Potash-sulphate of alumina, 121^ lbs. 
Supertartrate of potash, 3 lbs. 
Boil two hours. Leave the wool in all 
night; next day, wash. 

DYEING PROCESS. 

Hypernic-wood, 16 lbs. 
Logwood, chipped, 16 lbs. 
Urine, 3 galls. 
Boil one hour. 

COMxMON WINE-COLOR. 

MORDANT PROCESS. 

^ Potash-sulphate of alumina, 121 lbs. 
Supertartrate of potash, 31. lbs. 
Boil two hours. Leave the wool in all 
night; next day, wash off. 

DYEING PROCESS. 

Hypernic-wood, 30 lbs. 
Logwood, 10 lbs. 



MANUFACTURING WOOLLEN GOODS. 41 

Urine, 2 qts. 
Boil one hour. 

.CHROME-PURPLE. 

Potash-sulphate of alumina, 10 lbs, 
Supertartrate of potash, 3 lbs. 
Bichromate of potash, 2 lbs. 

DYEING PROCESS. 

Logwood, 56 lbs. 
Muriate of tin, 3 lbs. 
Boil one hour. 



CHROME-GREEN. 

MORDANT PROCESS. 

Bichromate of potash, 11 lbs. 
Supertartrate of potash 1 lb. 
Potash-sulphate alumina, 1 lb. 
Boil one hour, and let the wool remain 
all night. 

DYEING PROCESS. 

Logwood chips, 10 lbs. 

Fustic chips, 20 lbs. 

Urine, 1 gall. Boil one hour. 



42 THE ART OF DESIGNING AND 

RIFLE GREEN. 

MORDANT PROCESS. 

Bichromate of potash, 1| lbs. 
Siipertartrate of potash, IJ tbs. 
Potash-sulphate of aluimna, 1\ lbs. 
Boil two hours. 

DYEING PROCESS. 

Logwood chips, 12J lbs. 
Fustic chips, 12 lbs. 
Sulphate of copper, 1 lb. 
Boil one hour. 



COMMON LOGWOOD GREEN. 

Bisulphate of copper, 5 to 7i lbs. 
Boil two hours. 

DYEING PROCESS. 

Logwood, 20 lbs. . 

Fustic, 25 lbs. 

Work the wool iu this for about half 
an hour, at about one hundred and eighty 
or one hundred and ninety degrees ; then 
give three pails urine, and work well for 
another half-hour. 



MANUFACTURING WOOLLEN GOODS. 43 

COSSACK GREEN. 

Bichromate of potash, IJ lbs. 
Potash-sulphate of alumina, 1 lb. 
Supertartrate of potash, 1 lb. 
Boil two hours. 

DYEING PROCESS. 

Fustic, 40 lbs. 
Crop madder, 5 lbs. 
Logwood, 7 lbs. 
Sulphate of copper, 1 lb. 
Boil one hour. 

This green may be made perfectly fast 
by a very slight woading. 

SADDENED COLORS. 

All the information that can be given 
respecting dyeing these shades amounts to 
mere] generalities ; one of which is, to be 
certain to begin coloring with little enough 
dyestuffs, for more can be given if wanted; 
but if the quantity required by the pattern 
be exceeded, it will be difficult to work it 
off again. If it happen not to be brought 
up to the pattern by the first quantity of 



44 THE ART OF DESIGNING AND 

materials, give it more, and of such sorts, 
as, by a comparison of the pattern, you 
ascertain to be needed. If it requires to 
be made redder, only camwood must be 
given; if redder and bluer, cudbear, and 
perhaps a little logwood, or a trifle more 
saddening may be used. If it be short of 
yellow, give it fustic; but remember, always 
to leave them a little under the pattern in 
this respect, as the yellow always rises in 
a fawn or drab ; and the red does some 
also, especially camwood. Alwaj^s leave 
them finished a little on the saddening 
side of the pattern. 

"^ If they are not blue enough, give a 
little logwood, or sulphate of iron, accord- 
ing to your own judgment; if not green 
enough, perhaps a little sumach will give 
,it that hue, or sumach and sulphate of 
iron together. 

But, as before said, experience and judg- 
ment in the dyer are what is essentially 
necessary to the production of any pattern. 

These kinds of colors may mostly be 
dyed either by using all the dyestuffs and 
the saddening together, or by first boiling 



MANUFACTURING WOOLLEN GOODS, 45 

on the dyes tuffs, and then saddening 
afterwards. 

PURE FAWN. 

Crop madder, 2 lbs. 

Camwood, 2 lbs. 

Fustic, 21 lbs. 

Boil one hour and a half; then sadden 
with half a pound of sulphate of iron, and 
one half^hour's boil. 

SANDY FAWN. 

Madder, 2 lbs. 

Camwood, 2 lbs. 

Fustic, 2 lbs. 

Boil one hour and a half; then sadden 
with eight ounces sulphate of iron and 
two ounces potash-sulphate of alumina, and 
half an hour's boil. 

CHOCOLATE. 

Cudbear, 3 lbs. 
Camwood, 1 lb. 
Fustic, 3 lbs. 
Logwood, 4 ozs. 

Boil one and a half hours ; then sadden 
3* ♦ 



46 THE ART OF DESIGNING AND 

with three-fourths of a pound sulphate of 
iron, and boil half an hour's boil. 

HARE-BACK. 

Fustic, 3 lbs. 

Camwood, 1 lb. 

Madder, 6 lbs. 

Boil one and a half hours ; then sadden 
with three-fourths of a pound sulphate 
of iron, and three-fourths of a pound sul- 
phate of copper, and half an hour's boil. 

MULE- COLOR. 

Crop madder, 1 lb. 

Camwood, 1 lb. 

Nutgalls, 2 lbs. 

Boil one and a quarter hours; then sad- 
den with three-fourths of a pound sulphate 
of iron, and half an hour's boil, 

SLATE. 
Logwood, 8 lbs. 
Sumach, 2 lbs. 
Fustic, 2 lbs. 
Madder, 2 lbs. 
Boil one and a half hours; then sadden 



MANUFACTURING WOOLLEN GOODS- 47 

with two pounds sulphate of iron, and 
half an hour's boil. 

DRAB SLATE. 

Logwood, 16 lbs. 

Camwood, 2 lbs. 

Boil one and a half hours; then sadden 
with four pounds sulphate of iron, and 
three-fourths of an hour's boil. 

This color to mix with puce, for slate 
mixture. 

DRAB. 

Fustic, 1^ lbs. 

Madder, li lbs. 

Logwood, ^ lb. 

Sumach, | lb. 

Boil one and a half hours ; then sadden 
with^ three ounces of potash-sulphate of 
alumina, six ounces sulphate of iron ; half 
an hour's boil. 

SILVER DRAB. 
Fustic, 14 ozs. 
Madder, 4 ozs. 
Supertartrate of potash, 1 lb. 
Sulphate of iron, i oz. 
Boil one and a half hours. 



48 THE ART OF DESIGNING AND 

STONE DRAB. 
Logwood 4 ozs. 
Fustic, 2 lbs. 

CLARET. 

DYEING PROCESS. 

Camwood, 65 lbs. 
Logwood, 10 lbs. 
Boil two hours. 

MORDANT PROCESS. 

Sulphate of copper, 5 lbs. 
Sulphate of iron, 1 lb. 
Boil one hour. 

MULBERRY. 
Woad to a middle blue, then wash off 
well. 

DYEING PROCESS. 

Camwood, 30 lbs. -^ 
Hypernic, 10 lbs. 
Logwood, 5 lbs. 
Boil two hours. 

MORDANT PROCESS. 

Sulphate of copper, 5 ,lbs. 
Sulphate of iron, I lb. 
Boil one hour. 



MANUFACTURING WOOLLEN GOODS. 49 

CORBEAU. 
Camwood, 25 lbs. 
Logwood, 25 lbs. 
Fustic, 21 lbs. 
Boil one hour. 

MORDANT PROCESS. 

Sulphate of iron, 5 lbs. 
Sulphate of copper, 1 lb. 

BROWN OLIVE. 

DYEINQ PROCESS. 

Fustic, 50 lbs. 
Crop-madder, 12^ lbs. 
Logwood, 7 lbs. 
Boil two hours. 

MORDANT PROCESS. 

Sulphate of iron, 2] lbs. 
Boil one hour. 

CHROME' BLACK, ON TWELVE PIECES. 

MORDANT PROCESS. 

Six pounds chrome. 

Three pounds tartar. 

Boil one and one-half or two hours. 



50 THE ART OF DESIGNING AND 

DYEING PROCESS. 

One hundred and twenty-five or one 
hundred and fifty pounds logwood. 

Three pails camwood. 

Boil two hours, till shade is up. Leave 
these quite blue; they will darken in fin- 
ishing. 

COPPERAS-BLACK, FOR TEN PIECES DOESKIN. 

MORDANt PROCESS. 

Copperas, 18 lbs. 

Blue vitriol, 6 lbs. 

Tartar, 5 lbs. 

Sumach, 10 lbs. 

Bolted logwood, 25 lbs. 

Put these all in together, and boil ten 
minutes ; then add a little cold water. En- 
ter cloths, and run one hour and a half 
•with a gentle boil; then take them out, 
fold, and let them drain until the next day; 
and finish with — 

Logwood, 15 lbs. 

Camwood, 15 lbs. 

Boil two hours. 



MANUFACTURING "WOOLLEN GOODS. 



51 



TABLE OF MIXTURES. 



Blue Mixture, 
Blue Mixture, 
Iron Mixture, 
Olive Mixture, 
Olive Mixture, 
Claret Mixture, 
YiOLET Mixture, 
Violet Mixture, 
Ehododendron, 

Hare-Back, 

Purple Mixture, 



(20 White, 

(80 Blue. 

f30 Puce, 

(70 Mad. Blue. 

(33 Light Blue, 

(67 Black. 

(20 Lemon Yellow, 

(91 Black. 

( 20 Lemon Yellow, 

(80 Black. 

(30 Bright Green, 

(70 Claret. 

(15 Yellow, 

( 85 Blue' Violet. 

(80 White, 

(20 Blue Violet. 

(50 Full Puce, 

(50 Olive. 

r58 Drab, 

\ 10 Red, 

[ 5 Black. 

( 33 Crimson, 

(67 Blue. 



52 



THE ART OF DESIGNING AND 



Mule Mixtuee, 
Plum Mixture, 
Oxford Mixture, 



30 Drab, 
70 Blue Black. 
30 Full Puce, 
70 Dark Slate. 
White. 



(993 



I Eich Black. 



First Black Mixture, { -^^ White, 

(97| Black. 

Third Black Mixture , ) ' 

(85 Black.. 



Steel Mixture, 
Green Mixture, 

Iris Mixture, 

Second 
Black Mixture, 

Silver-Gray, 
Cadet Mixture, 



15 to 30 White, 
85 to 70 Black. 
70 Middle Green, 
30 Fast Lilac. 

pO Yellow, 

<! 30 Red, 

[so Blue. 

(10 White, 

(90 Black. 

[36 Slate, Light, 

i 36 Purple, 

(.28 White. 

r33 White, 

I 34: Black, 

|_33 Blue. 



MANUFACTURING WOOLLEN GOODS. 53 

PICKING-ROOM. 

The wool, after being thoroughly dried, 
is carried to the picking-room, and run , 
through the pickers. Then it is all laid 
on the floor, in a bed or pile, and oiled. 

There are various qualities of oil used, 
according to the kind and style of goods 
you design to make. If you design to 
make a fine broadcloth or doeskin, you 
should, to each one hundred pounds of 
wool, put oi> one gallon of olive-oil, stir- 
ring it till the wool has absorbed the oil. 
Then give it two run through the picker, 
makins: three times that it has o^one throuo;h. 
If it is now well open and light, it will 
do to go to the card ; if not, it should 
be put through again. 

Observe that you do not place the fluted 
rollers so near as to break the fibre, and 
reduce the wool thereby so as to destroy 
the staple. 

The latest improved and best picker in 
use is manufactured by J. G. Sargent, 
Lowell, Mass. It is made with fluted 
rollers in front, to receive the wool 



54 THE ART OF DESIGNING AND 

from the aprou. The main cylinder makes 
twelve hundred revolutions per minute, and 
is capable, if run at fifteen hundred, to 
pick four thousand pounds per day, if 
properly tended, and kept in good running 
order. The dirt and waste should be re- 
moved as often as the lots are changed. 
The picker-teeth should be carefully ex- 
amined twice each day, to prevent them 
from flying out. In preparing mixtures, 
each lot should be picked separate the first 
time, and not mixed till oiled. After it is 
oiled, it should be well poled, and mixed 
as evenly as j)ossible, before it is put 
through the picker. 

CARDING-ROOM. 

Carding the oiled wool is the next pro- 
cess in the woollen manufacture. It serves 
to open up and separate the woolly fibres, 
rendering the wool more light and equable. 

The card consists of a first ])reaker, 
second breaker, and finisher. The main 
card or cylinder on the first breaker should 
be covered with straight-toothed clothing, 
and ground to a needle-point, which is 



MANUFACTURING WOOLLEN GOODS. 55 

done by the vibration of the grinder when 
grinding. In putting on new clothing, great 
care should be exercised, and draw it tight, 
smooth, and even. The small nails should 
be put in very even, working by a line. 
The speed of the cylinder should not ex- 
ceed one hundred and twenty revolutions 
per mhiute. The doffer and workers should 
make twenty revolutions per minute. The , 
second breaker should make the same speed 
as the first breaker. The finisher doffer 
differs considerably from the doffers on the 
first and second breakers. Instead of hav- 
ing its surface completely covered with card- 
clothing, in a spiral form, it has merely 
a succession of oblong card-clothing rings, 
fixed on it at intervals parallel to the axis ; 
so that the wool is detached from the dof- 
fer by the comb, and carried continually 
through rubber rollers, that vibrate, and 
form the roping as it passes through, and 
is wound on large spools. 

Then it is taken away, and placed on 
the jack for spinning. To regulate the 
size of roping, you will weigh, and change 
the gear until you obtain the desired size. 



56 THE ART OF DESIGNING AND 

ROPING-TABLE. 

For two run yarn, have roping one run. 

For four run j^arn, have roping two run. 

For six run yam, have roping three run. 

For eight run yarn, have roping four run. 

If it is found necessary to spin a little 
finer or a little coarser, you can vary, and 
put the yarn to compare with sample or 
size that the style of goods call for. 

REDUCING WOOL ON THE CARDS, 

For reducing wool on the cards, cross 
your worker-belt, and run it reverse. This 
change is very desirable on face goods. It 
makes more fibres, w^iich is an essential 
point to be gained in finishing. It will 
give one-third' more lustre, and goods will 
handle two qualities finer when the wool 
is carded wuth the belt reversed. In pre- 
paring mixtures, if you use three hundred 
pounds w^hite w^ool of the first quality, 
and wish to put in forty pounds of black 
or blue, select the fifth or sixth quality, 
which will card out clear, be free from 



MANUFACTURING WOOLLEN GOODS. 57 

specks, and save hours of work in the 
specking-room. 

SPINNING-ROOM. 

The wool comes into the spinning-room 
in roping, wound on spools, when it is 
placed on the frame and adjusted. The 
roping ends are then taken singly^ and 
carried through between small iron rollers, 
and attached to the upright bobbin, which 
is revolved by small bands' from a tin 
drum running the whole length of the jack. 
This drum is driven by a large belt at- 
tached to the main driving-pulley. 

The carriage, or jack, on which are placed 
the upright bobbins, vary in number from 
two hundred and forty to three hundred 
spindles. Two hundred and forty is the 
common or ordinary size, and used gener- 
ally by the American manufacturer. 

The jack is placed on grooved iron 
wheels, that run on an oval track about 
three yards in length. When the jack is 
pushed into gear, it takes from two to ten 
inches of roping from the spools ; and 
then, as the jack is slowly drawn out, it 



58 THE ART OF DESIGNING AND 

twists and converts the roping into yarn 3 
when it is wound by turning the crank 
with the right hand, the left hand placing 
the yarn on the bobbin by guiding the 
follower. The twist is regulated by the 
twist-plate, giving as many holes of twist 
as you think the yarn requires, or to suit 
the style of goods. The present method 
of ascertaining the size and regulating the 
fineness is determined and counted in runs. 
Sixteen hundred yards make one run, and 
weighs one pound avoirdupois. 



MANUFACTURING WOOLLEN GOODS. 



59 



SPINNERS' TABLE. 



EUNS. 


GRAINS. 


RUNS. 


GRAINS. 


1 


218| 


8i 


26iJ 


H 


175 


8* 


25H 


14 


U5| 


8f 


25 


If 


125 


9 


24^V 


2 


109f 


H 


23|f 


H 


97f 


H 


23^V 


n 


87J 


9f 


22H 


H 


79t\ 


10 


21H • 


3 


72H 


lOi 


21H 


H 


67T*ir 


lOi 


20|| 


H 


62^ 


lOf 


20if 


H 


58i 


11 


19ff 


4 


54ii 


Hi 


19tV 


H 


51^ 


llj 


19tV 


^ ih 


48H 


llj 


18|f 


4i 


46tV 


12 


18H 


5 


43f 


12i 


17f 


H 


41f 


m 


17^ 


H 


zm 


m 


17A 


H 


38J^ 


13 


16tl 


6 


36H 


13i 


16fJ 


H 


35 


134 


mi 


H 


32^ 


13f 


\b\\ 


H 


32i| 


14 


15| 


7 


31i 


14f 


15f.^ 


n 


30^^, ^ 


14J 


ISsV 


n 


29i 


14^ 


14il 


7J 


28,fT 


15 


14/^ 


8 


27Ji 







60 THE ART OF DESIGNING AND 

With this table, you will use the ordinary 
yarn-beam for weighing. The beam can be 
obtained from Sumner Pratt, of Worcester, 
Mass. 

When you wish to ascertain the size of 
yarn, take from the jack five bobbins ; reel 
from each five yards, which makes twenty- 
five yards, which place on the beam. It 
will give and correspond with the table. 
To ascertain the size of yarn, where two 
twists are put together, — say one of four 
run and one of six run fine, — add them 
together, and divide by four, allowing one- 
third for take-up, namely, — 

Example : — 4, 6 = 10. 

■^4)10(2.50 runs. 
8 



20 



This shows the yarn would be two- 
and-a-half run fine. 



MANUFACTURING WOOLLEN GOODS. gj[ 

SPOOLING-ROOM. 

The warp-bobbins are brought from the 
jack to the spooler, where they are run off 
onto spools, and put on the dresser-rack 
for dressing. If you wish to make a warp 
with twenty-four hundred threads, you will 
spool six spools, with forty thread on a 
spool ; that will give twenty-four hundred 
threads in the warp. 

The average length of cuts are thirty 
yards ; we will say six cuts to the warp ; 
that would require one hundred and eighty 
yards of yarn. This you will regulate on 
the spooler by putting on the one hundred 
and eighty ^-ards. 

Set the clock on the spooler for one 
hundred and eighty yards ; put forty thread 
on each spool. That will give, as before, 
twenty-four hundred threads in the warp. 

THE REED. 

The reed is a very important article in 
weaving. It divides the warp-thread, and 
may also determine the fineness of the 



(32 THE ART OF DESIGNING AND 

cloth; but a coarse web may be made in 
a fine reed, and a fine web may be made 
in a coarse reed ; consequently, it is really 
the number of warp-threads contained in 
a given space that determine the fineness 
of the cloth or web. 

For example : — A six-hundred web can be 
made in a twelve-hundred reed by put- 
ting only one thread in the split ; and a 
twenty-four hundred can be made in the 
same reed by putting four thread in the 
si^lit; or an eigh teen-hundred, by putting 
threo hundred in the split. However, the 
common practice is to put two thread in 
the split; and when speaking about the 
fineness of a web, it is always , understood 
that two threads are in the split. But in 
other places, there are different scales or 
rules by which the fineness of the -web 
is named. 

To ascertain and rate the reed: — 

Example : — • 2400 ~ 40 = 60 ~ 3 = 20. 

Divide the number of threads by the 
width you Avish to make the cloth in the 
loom, and that result by the number of 



MAKUFACTURING WOOLlIn GOODS. 



63. 



threads you wish to put into a dent; that 

will give the number cf reed. 

Twenty dents to the inch, three threads 
in a dent, forty inches wide, and twenty- 
four hundred threads in the warp. The 
same principle of calculation will apply in 
all cases ; changing alternately as yon de- 
termine and decide on the number of 
threads in the warp, or width of the cloth, 
and number of threads you put into a 
dent. 

CALCULATION OF WARPS. 

To find the nnmber of ends in a warp, 
ascertain the lumiber of ends in one inch, 
by the given quantity of inches, that are 
to be the width of the warp ; and the 
answer the number of ends required. 

Example : _ 40 X 60 = 2400 ends in the 
warp. To find the weiglit of warp in one 
yard, divide the number of threads by the 
size of the yarn.. Example : — 2400 -^ 6 = 
400. 

That gives, in a warp of twenty-four 
hundred threads, six-run fine, four ounces 
of yarn to the yard. 



(34 THE ART OF DESIGNING AND 

CALCULATION OF FILLING. 

To find the quantity of filling for one 
yard of cloth, multiply the picks in one 
inch by the width. That will give the 
number of yards of filling in length in one 
yard. 

Example : — 40 X 36 = 1440 yards of yarn 
in one yard. 

To find the ^V^eight of filling for one 
yard, multiply as above, and divide by the 
size of the yarn. Example : — 40 X 36 = 

Multiplying the number of picks to the 
inch, by the width of the cloth in the loom, 
and dividing by the number of runs, 
gives three ounces and sixty-three one- 
hundredths to, the yard. 

You will determine on the number of 
harness, say eight ; and divide the number 
of threads in the warp ])y eight. That will 
give the* mmiber of heddlcs to put on 
each harness. 

Example : — 2400 ^ 8 = 300 hecldles. 



MANUFACTURING WOOLLEN GOODS. 65 

* 

DRAWING-IN. 

When the warp is dressed, it is ready 
for the draAver-iii. Tlie beam is then hung 
lip with two ropes, or iron hoops, about 
two feet from the floor, and a sufiicient 
length of yarn turned off*, so as to allow 
the end of it to come down to the ^ 
drawer-in, who sits on a stool, with the 
heddles before him, — two rods inserted 
into where the lease-cords are. These 
lease-cords are put into the warp at the 
dresser. The ends of the rods are then 
fixed together, and the warp spread out to 
its proper breadth. The hander-in takes 
thread by thread, and hands it to the 
drawer-in to take through the heddles with 
a hook ; and the drawer-in takes the 
heddles in regular succession, according . to 
the draught of the warp. When the warp 
is drawn into the heddles, it next requires 
to be put into the reed,* which is done by 
the same person, Avho has a reed-hook for 
the purpose. lie commences at the right- 
hand side of the warp, and takes out the 
number of threads from the heddles that arc 



(5(3 THE ART OF DESIGNING AND 

intended to go into one dent. This opera- 
tion being done, the warp is ready to be 
put in the loom. 

PLAIN CLOTH 

Is made hy causing everj^ thread of the 
warp and filling to cross eacli other at 
right-angles and tack, together alternately. 
This is done by drawing the w^arp into 
two leaves of heddles, with equal quantities 
on each leaf. But a plain warp is in gen- 
eral drawn on four leaves, to keep the 
Leddles from being too crowded on their 
shafts ; and the two fore leaves are fixed 
together as one, and the two back ones as 
another, and mounted in the loom as if 
they were just two leaves. The figures 
shown on the following diagram exhibit 
the draught of a plain warp with four 
leaves : — 



MANUFACTURING WOOLLEN GOODS. 



67 



DIAGRAM No. 1. 



4 
2 6 

3 
1 5 



R 



The figures 1, 2, 3, 4, 5, and 6, show 
how the yarn is drawn through the heddles ; 
and'R S are the shafts. They are sunk 
and raised alternately, to form •plain texture. 
The term ^' plain cloth/' as applied here, 
must be understood as the kind of. weaving; 
as there are many fabrics made by plain 
weaving that are not commonly called plain 
cloth, but only to distinguish it from that 
class of goods styled ^^ fancies," which form 
all the variety of twills and figures that 
are made in the loom, by the warp and 
weft being produced by the order 'and 
succession in which the filling is interwoven 
with the warp. 



68 



THE ART OF DESIGNING AND 



TWILLED PATTERN. 

Three leaves is the smallest quantity 
that can make a twill, and its fabric 
comes nearest to the fabric of plain cloth. 
There are a great many different kinds of 
cloth made by the three-leaf twill. 

From Diagram No. 2, it w411 be seen 
that two-thirds of the warp is on one side 
of the cloth, and two-thirds of the filling. 
upon the other. This is accomplished by 
sinking two* leaves and raising one every 
pick. 

DIAGRAM No. 2. 



1 • 3 


• 1 2 


• 1 1 



DIAGRAM No. 3. 



3 6 14 
2 6 2 5 

14 3 6 



It will also be observed that the yarn 
is drawn through the heddles as follows : — . 
One thread on the first or front leaf, one 
thread on the second leaf, and one on the 
third or back leaf. The first harness is to 



MANUFACTURING WOOLLEN GOODS. 69 

sink the first and second leaves, and raise 
the third. The second harness is to sink 
the first and third leaves, and raise the 
second. Tlie third harness is to sm^ the 
second and third, and raise the first, and 
repeat. To make what is called a herring- 
bone twill, with three leaves, the same 
harness will do ; but the draught will be 
as follows ; — 

Suppose the cloth is for a diagonal, and 
the pattern twelve of brown, and twelve 
of steel mixture ; then the warp will require 
to be drawn, as shown in Diagram 3, which 
is six threads of brown drawn through the 
heddles, beginning with the first leaf, and 
six threads beginning with the third ; the 
steel-mixed is drawn in the same manner. 
It will be observed that the twill turns 
upon two threads, which does not make the 
herring-bone so neat ; but if it be drawn 
as shown in Diagrivn 4, with ten threads 

DIAGRAM No, 4. 

3 6 9 13 16 19 
2 5 ' 7 10 12 15 17 20 
14 8 11 14 18 



70 



THE ART OF DESIGNING AND 



of brown, and ten of steel mixture, tlien the 
twill will turn on ojje thread, which is the 
proper way. 



|@| 4 D 


#1 3 C 


, O 2 B 


® 1 A 



FOUH-LEAF PATTERN 

Can be drawn straight over, as shown in 
DIAGRAM No. 5. 



4 fourth. 
3 third. 
2 second. 
1 first. 



The first shed is the back harness up, 
and the other three down ; the second is 
the third harness up, and the other three 
down; the third, is the second up, and 
the other three down; the fourth, is the 
first harness up, 'and the other down. This 
is a simple pattern in weaving, or will be 
considered so by an old weaver ; but, let 
the scholar understand this diagram thor- 
oughl^s and there will be no further diffi- 
culty with other patterns. The first part 
of the diagram is a representation of de- 
sign paper; and the dark squares arc the 



MANUFACTURING WOOLLEN GOODS. 



71 



warp threads, tiht are above the filling ; 
and the white squares are those that are 
below it. The spaces that are marked A, 
B, C, and D, represent the harnesses ; the 
figures 1, 2, 3, and 4, are the draught in 
the harnesses once over. 



A FIVE-HARNESS PATTERN. 

Diagram 6 is a regular five-harness pat 
tern; and figure seven is what is called 
broken twill; and in these two diagrams 

DIAGRAM No, 6, 



l# 


5 


191 1 


4 


1 • 


3 


!•! 1 1 


2 


•1 1 1 


1 


DIAGRAM No. 7. 


9 \ 


5 


1 1 !• 


4 


•1 1 1 


3 


1 1 !• 


2 


•Ill' 


1 



as in the other plans that follow, the 



72 



THE ART OF DESIGNING AND 



blacky squares are the leaves that are 
raised ; and the Avhite ones those that 
are sunk. On the pattern-chain they are 
styled sinkers and risers. Some designers 
call them offs and ons. Xhe numbers 1, 
2, 3, 4, and 5, are the draughts. 



SIX-HARNESS PATTERN, 

Diagram 8, is six-harness twill, ahd Dia- 
gram 9 is the same, broken. 

DIAGRAM No. 8. 



!•! 


6 








• 


5 






• 




4 






• 








3 


• 










2 


• 








1 


DIAGBAM No. 


9. 












• 


6 






• 








5 










• 




4 


• 










3 






• 






2 


• 






1 



MANUFACTURING WOOLLEN GOODS. 73 



PIAGRAM No. 10. 



•m ! I9P 


1 


• 90 


2 


ei^d 


3 


• o®i 


4 


• •1® 


5 


• •• 


6 


• •• 


7 


oeo 


8 


9®0 


9 


• •• 


10 



74 THE ART OF DESIGNING AND 



DIAGRAM No, 11. 



r— ( 

1 


T-H 

• 




CO 


T— 1 

• 


rH 


o 

T— ( 

• 


i 


00 

9 


l> 

9 


1 


o 

9 


-I 


CO 


• 


• 



MANUFACTURING WOOLLEN GOODS. 



75 



DIAGRAM No. 12. 



® •I® 


® 1 


!• 1 l«® ' 2 


•,® 9I®I 1 3 


1 OI®l® 


1 4: 


®l® 1 1 


® S 


•!®® 19® 6 


®!® 1®!®,®! 7 


® ®®® 


8 


® ® ®|® 


® 9 


®®® ® 


® 10 


®® 


® • 11 


®®® 


12 


®®|®l® 


13 


® ®i® 


14 



Diagram 11 is called the full satin twill, 
and is an elegant pattern. With different 
twists and colors of yarn, it looks very 
nicely, especially with twists. 

Diagram 12 is fourteen- harness pattern ; 
is a sort of double figure, and looks very 
neat in fine cloth. With diQerent mount- 
ing, you can obtain most any pattern 
desired. 



76 



THE ART OF DESIGNING AND 



DIAVRAM No, 13. 



1 I9I9I9 1 6 


1 m9 


9 \ ^ii\ ^ 


99 9 


99 4 


• •• 


• •9 3 


• • 


• •;• 2 


• 


• •# 1 1 



This pattern is wove with fourteen hun- 
dred and thiiiy-five threads in the warp. 
The reed has ten dents to the inch, four 
threads in a dent, five run warp. 

The filling, two single drab threads, six 
run fine ; and one double-and-twist, brown 
and white, three run fine, with fortj;-four 
picks to the inch; six harnesses, two hun- 
dred and forty heddles on each harness. 



MANUFACTURING WOOLLEN GOODS. 77 



DIAGliAM No,, 14. 



®l#e®i@ 








9 






9@®® 






® 






9 

9 
9 


• e® 




9 






• 


99 


9 






• • 


9 


® 




9 


9|« 


9 
9 


® 




©••• 


^ 


9 


• 9 • • 


9 


• • 


• 


9 









® 9 


• • 


• 


9 








9 •• 




9 






#®e 






# 


«••• 


• 








9 





Fancy double-and-twist , can be wove with 
single yarn, but will not be quite as heavy 
and strong as with double-and-twist. 

The diagrams and exam];^es given will 
be sufficient to satisfy any ordinary mind 
on the theory of Aveaving; and, with two 
years' practice under a competent manufac- 
turer, the art will be thoroughly understood. 



78 THE ART OF DESIGNING AND 



DESIGN FOE FIFTY PIECES TWELVE- 
OUNCE GOODS: 

SAY TUIRTY YARDS TO THE PIECE, EQUAL TO FIFTEEN 
HUNDRED YARDS, 

Now you Avisli to ascertain how maii}^ 
pounds of clean wool it will take. 

The warp should be spun four runs 
fine, putting in thirty-two-hole twist, with 
twentj'-eight hundred threads in the warp, 
wdiich gives seven ounces per j^ard, — 
, 1500 X 7 ozs. = 10500 ozs. -^ 16 = 656 
pounds of clean wool. The filling should 
be spun three and a half runs fine, and 
slay the warp thirty-six inches wide, put- 
ting in fifty picks to the inch, namely: — 
50 X 36 = 1800 ^ 3f = 5 ozs., 1500 yards 
X 5 ozs. = 7500-^-16 = 469 pounds of wool. 

Which shows, ^o make fifteen hundred 
yards twelve-ounce goods, it wdll take four 
hundred and sixty-nine pounds of wool for. 
the filling, and six hundred aiid fifty-six 
pounds for the warp. 

To ascertain the number of reed, divide 
the number of threads, twenty-eight hun- 



MANUFACTURING WOOLLEN GOODS. 79 

dred, by ♦the width of cloth, 36 inch = 
77, and that by the number of threads in 
split, say four, that will give nineteen dents, 
behig the number of reed. 



80 



THE AKT OF DESIGNING AND 



PRICE LIST. 
PAID FOR PERFECT WEAVING BY THE PICK. 



PICKS. 


PRICE. 


PICKS. 


PRICE. 




C. 




C. 


12 


1 


54 


42 


18 


12 


57 


43 


21 


13 


60 


5 


24 


2 


63 


51 


27 


2' 


66 


52 


30 


22 . 


69 


53 


33 


23 


72 


6 


36 


3 


75 


61 


39 


31 


78 


62 


42 


32 


81 


63 


45 


33 


84 


7 


48 


4 


87 


71 


51 


41 


90 


72 



One half-cent extra for pick and pick. 
Imperfect work will be .charged accordhig to 



damage. 



MANUFACTURING WOOLLEN GOODS. gl 

BURLING-ROOM. 

The cloth taken from the loom is brought 
to the burling-room, aud measured ; each 
piece is numbered, in succession, as it comes 
along. The number, yards, quality, and 
weight are taken, and entered in the 
books designed to receive the numbers, 
weights, etc., of the flannels. It is also 
marked on the cloth by the numbererj using 
a chain-stitch. This number remains on the 
cloth till finished, when it is taken off", and 
put on the ticket. In some mills, experts 
are employed to - do this numbering and 
marking, who put on rare designs with 
silk, which remain on the cloth, and go to 
market, serving the purpose of a trade- 
mark. After numbering, it is then drawn 
over the burling-table, and all the small 
knots and threads, skip-ups, and uneven 
places ^ taken off"; all the holes arc nicely 
darned with yarn the same color. If there 
are any mispicks, they are carefully dra^vn 
in, by a person who understands the pat- 
tern, thereby saving one-fourth of a yard, 
which would- have to be allowed for a 



82 THE ART OF DESIGNING AND 

mispick. It would make an imperfect place 
in the cloth if not drawn in. When 
burled on both sides, it is drawn over the 
perch, and inspected by the Overseer. It 
is then • carried to the 



SCOURING AND FULLING ROOxM. 

The scouring and fulling are a very im- 
portant part in making Avoollen cloth. The 
application of soap can be attended with so 
many different results, that it requires 
the most careful and strict attention on the 
part of the workman, as w^ell as on the 
part of the proprietor, wlu should see 
that the best of material is used, in pre- 
paring the preparation for vretting-up in 
the scouring-mill, and soap for fulling. 

If the alkali predominates in the soap, it 
will knock down all strong colors, more or 
less ; and delicate colors it will entireij^ des- 
troy, leaving them a mere shadow of what 
they would have been, if the proper strength 
of soap had been used. If the soap is too 
weak, and does not start the grease, the 
cloth will become cold ; the soap will seem 



# 
MANUFACTURING WOOLLEN GOODS. §3 

to lose its life; the longer it runs, iill the 
cloth sets ; when it will take a much 
stronger soap to start the grease, than it 
would if the right strength of soap had 
been applied first. If the soap is put on 
hot, the effect would be the same as if put 
on too strong. It Avill certainly start the 
color. 

There are but few soapmakers who make 
it a study to get the right kind of stock, 
and have it properly made. I trust it will 
not be presuming, if I name one of the 
few who is acknowledged to be the best 
soapmaker in the United States, Emanuel 
Nathans, Xo. 1057, Tremont Street, Boston. 
Mr. Nathans is now furnishing some of the 
largest woollen mills, where the most deli- 
cate colors are made, and they all join in 
saying that this is the only soap they can 
use. 

When the cloth has been scoured und 
dried, it is put into the fulling mill, satu- 
rated with soap ; then the mill is started 
and run. If the cloth is light and slazy, 
it should ))e left thirty inches wide ; but, 
if heavy and strong, it should be fulled up 



84 THE ART T)F DESIGNING AND 

to twenty-eight inches wide. It should then 
be taken out, and put into the washer, and 4 
the soap thoroughly rinsed out. 

When clean, fold them smooth, and lajr on 
the scray to drain, ready for the 



GIG-ROOM, 

Which is another branch of the finishing, where 
the cloth receives the work and foundation 
for the beautiful polish to be found on all 
w^ell-finished goods. If clotjis are slighted 
and pushed along in the process of gigging, 
the effect is so certain and prominent, that 
it will not require an expert to see at 
once w^iere and why the cloth looks so 
dull and lifeless when finished. 

The gigging process consists of a continual 
teaseling of the Tjloth, by running it over 
large cylinders, in which are placed iron 
slats. Inserted in these slats are the teasel, 
a small burr, much like aijd resembling 
the common American bull-thistle. Many 
attempts have been made to substitute 
some metallic form for the teasel ; but as 
yet, the effort has proved fruitless, — nothing 



MANUFACTURING WOOLLEN GOODS. 85 

has been found to take the place of this 
simple little burr. 

The cloth is run till a heavy thick and 
is produced on the face of the goods, 
when it is taken and sheared or first 
croi^ped. Again it is taken back to the 
gig, and put through the process of sec- 
ond rising; sharper work is given to it, 
and run till it feels soft and pliable. It 
is then pressed and rolled ; put in the 
steam box, and boiled for four hours ; the 
water is then drawn oJBT, the cloth put on 
the wet gig, and thoroughly washed with 
pure cold water. When done, it is steamed 
again. 

This process is continued for three or 
four times ; the number of times depends 
on the style of goods. When steamed they 
are ready for piece-dyeing. Tliis kind of 
gigging will answer only for certain styles 
of goods. Fancy colors require different 
treatment in all the various processes of 
finishing. 



86 THE ART OF DESIGNING AND 



SHEARING OR FINISHING ROOM. 

The shearing machine is the most com- 
plicated, and requires more attention to 
keep it in good working order than any 
machine in the woollen mill ; but when it 
does work well, there is no machmery pro- 
cess that its work shows at once, and 
gives the satisfaction as the shear. 

The first work to be done on the cloth, 
is, to crop, second crop, and then comes 
the finishing, which is done by running it 
through the shear five or six times, plac- 
ing the blade on the set screws. Then as 
you wish to shear a little closer, you will 
change the sets, running it through each 
time till you get a short, full face. Then 
it is taken by "the speckers, and all the 
little specks and threads taken out. If 
the specks are numerous, and hard to pull 
out, it is better to ink them with a prepa- 
ration prepared for the purpose, which is 
put on with a stick or quill. 

They are then inspected over the perch, 
and all the holes are nicely fine-drawed ; 



MANUFACTURING WOOLLEN GOODS. gy 

when they cannot be drawn, a string is 
put in, to call attention when they are 
•measured. After they have been inspected 
by the inspector, they are put on the 
brush and run for an hour, when they are 
taken and papered for the press. 

Two days are consumed for pressing; 
when they are unpapered, and placed 
on the table, and measured, rolled, and 
packed, ready for market. 



237 90 







'; j-^-^K 'J 












% 







V »j:^% *c^ 






v.. ''-•*\^^' 



7 .^^V \ 

















<>«. ♦..•♦ 






•\/.-i5!W;". %,**■••• 






oV 








♦ k^ 










0^ 4*\:j* o 











«=?^'*»T.V^O-' '-^^ *.,,•• ^^T 





<> *'.. 







0^ 'o '...• A 






1^ %/ .* 



•"' .V 




^^ . 







°o 




V •iJfl'* ci 














M 



HECKMAN 

BINDERY INC. 

€^ MAY 90 
1^ N. MANCHESTER, 
^ INDIANA 46962 



• .0^ 




. * .^•^^ . • .4-^ 



